There are cops and then there are heroes and that’s just what this Flagler County Deputy is as he ran into a burning building to save a toddler.
Deputy Marcus Dawson was responding to a call in Palm Coast and as he was checking the scene he noticed movement inside the building. Looking closer he noticed a boy under a blanket who had been watching cartoons on a phone.
According to deputies, the boy was left alone with his brother while his father ran out to pick up dinner when the fire started. The youngster immediately received medical attention, and all three residents of the home were safe.
Check out the Body Cam Footage from the Rescue
David Bowie was such a badass. Here are his best songs of all time!
David Bowie: His 40 Greatest Songs
A cover of a song by a guy named Ron Davies (Three Dog Night covered it, too), it feels a bit out of place on ‘Ziggy,’ but what a rocking jam. Guitarist Mick Ronson really shines here.
After two albums with edgy rock band Tin Machine, Bowie made the R&B/jazz album ‘Black Tie White Noise’ in 1993, which reunited him with ‘Let’s Dance’ producer Nile Rodgers. But for the follow-up, he got weirder and more electronic when he reunited with “Berlin trilogy” collaborator Brian Eno. As it happened, Nine Inch Nails were a big influence on Bowie at the time, and NIN’s leader Trent Reznor was a huge Bowie disciple. This remix brought Bowie to a much younger audience (as did the tour, which saw Bowie and NIN co-headlining).
The opening track from Bowie’s hugely successful comeback album. Producer Nile Rodgers thought that Bowie wanted to make an album like his 1980 record ‘Scary Monsters (And Super Creeps)” and was surprised that Bowie wanted something a bit more commercial. It turned out to be Bowie’s biggest album ever.
Bowie took a hard right turn from rock to soul music on the ‘Young Americans’ album, and the title track gave him his first top 40 hit in the U.S.
Bowie’s last straight-ahead glam-rock hit before moving into a soul direction on the subsequent tour (captured on 1974’s ‘David Live’) and album, 1975’s ‘Young Americans,’ it features one of the best riffs on a Bowie jam. Mick Ronson had left Bowie by this time; Bowie played the riff himself.
After two albums that tried unsuccessfully to replicate the success of ‘Let’s Dance’ -- 1984’s ‘Tonight’ and 1987’s ‘Never Let Me Down’ -- Bowie was fed up with shooting for the pop charts. He announced that his solo career was over and his new band, Tin Machine, was his future. Nobody (probably not even his bandmates) believed that, but he definitely got his mojo back on Tin Machine’s self-titled debut. “Under The God” was the first song that most people heard from the album and it moved him out of the adult contemporary lane and into a lane with heavier -- and younger -- acts like Soundgarden, Living Colour and Faith No More.
For years, Bowie had been singing the praises of the Pixies, and on ‘Heathen,’ he finally sang one of their songs. It was the clear highlight from the album.
One of Bowie’s most straight-ahead blues rockers features a character inspired by Stooges frontman Iggy Pop, a huge influence on Bowie (and a future collaborator). Like much of the ‘Aladdin Sane’ album, there’s a huge Stones influence.
From Iggy Pop’s second solo album, which was produced by Bowie. Bowie co-wrote this song, sang very distinctive backing vocals and played guitar and keyboards. Iggy and Bowie’s fascination with eastern European dance music is all over this song.
It’s surely one of the greatest collaborations/duets in rock history, and the lyrics “Can't we give ourselves one more chance? Why can't we give love that one more chance?” is as resonant today as it ever was.
One of the most accessible songs from the “Berlin trilogy” of albums that he made with producer (and former Roxy Music member) Brian Eno. it’s one of the best, and funkiest, songs about having nothing to do. “Nothing to do, nothing to say/Blue, blue/I will sit right down/Waiting for the gift of sound and vision.”
A proto-metal song with lyrics that seem inspired by Dylan’s early era. “I ran across a monster who was sleeping by a tree./And I looked and frowned and the monster was me/Well, I said ‘hello’ and I said ‘hello’/And I asked ‘Why not?’ and I replied ‘I don't know’/So we asked a simple black bird, who was happy as can be/And he laughed insane and quipped ‘KAHLIL GIBRAN,’” a reference to a Lebanese poet.
Like “ “Heroes,”” it’s assisted by the amazing guitar of King Crimson’s Robert Fripp, and like many of Bowie’s songs, it’s about madness: “When I looked in her eyes they were blue but nobody home ... Now she's stupid in the street and she can't socialize.”
A hard rock jam featuring Bowie on the harmonica about an aging star having sex with a prostitute. Hey, it’s only rock and roll.
This remix was Bowie’s second collaboration with Nine Inch Nails’ Trent Reznor (who was one of the most popular and prestigious rock artists of the era). Renzor has gone on to perform the song on Nine Inch Nails’ tours.
Originally recorded by Bowie with a band called Arnold Corns in 1971, the better version was clearly the one with the Spiders From Mars, who he name drops in the later version (“Well, the bitter comes out better on a stolen guitar/You're the blessed, we're the Spiders From Mars”).
The final song on the final show of the 1973 “Ziggy Stardust” tour, Bowie prefaced the song by saying “Not only is it the last show on the tour, but it’s the last show we’ll ever do.” The crowd screamed “Noooo!” It wouldn’t be the last time Bowie “retired,” though. Still, it was a great performance to end that phase of his career on.
A croony ballad that became Bowie’s second hit, a few years after his first (“Space Oddity”). Bowie’s legendary performance of this on the U.K. show ‘Top of the Pops’ apparently made a huge impact on future rock and pop stars including Bono, Robert Smith of the Cure and Boy George.
A song allegedly based on stories about Detroit that Iggy Pop told Bowie, over a very Bo Diddley-esque beat, played by Mike “Woody” Woodmansey on drums and future Journey and Whitesnake member Aynsley Dunbar on percussion.
Bowie’s cover of the Velvet Underground’s classic. It’s been said that the Velvets didn’t sell many records, but everyone who did buy one started a band, and Bowie is certainly one of the most famous Velvet disciples. He’d later produce VU frontman Lou Reed’s classic ‘Transformer’ album.
A doo-wop song about a future where people somehow forgot how to have sex, so they listen to the Rolling Stones and watch old porn videos to figure it out. Not a bad plan! “And try to get it on like once before/When people starred in Jagger's eyes and scored/Like the video films we saw!”
Originally lasting more than eleven minutes, Bowie cut it down to 9:58 when he learned that the iTunes store wouldn’t sell singles if they were more than ten minutes. One of Bowie’s weirdest and least commercial songs, which makes sense. He seemed to know that he didn’t have much time left while he was working on the album, so he probably wanted his final work to be something he was happy with, as his final bow.
Featuring one of the greatest performances by piano player Rick Wakeman (later of Yes), according to the BBC, “In 1968, Bowie had written English lyrics for a French song called ‘Comme, D’Habitude,’ calling his version ‘Even A Fool Learns To Love.’ It was never released, but soon afterwards Paul Anka heard the original version, bought the rights and rewrote it as ‘My Way.’ Bowie recorded ‘Life On Mars?’ as a Sinatra parody in anger at having missed out on a fortune, although the ‘Hunky Dory’ liner notes state that the song was merely ‘inspired by Frankie.’” It’s tough to imagine Ol’ Blue Eyes singing “Mickey Mouse has grown up a cow,” though.
Talk about setting the scene: the opening track from ‘The Rise and Fall of Ziggy Stardust and the Spiders From Mars’ kicks things off by notifying earth that it only has five years left before being destroyed by some kind of disaster.
The lead single from his comeback album, “Let’s Dance” topped the pop charts, but also had some great guitar playing, courtesy of a young up-and-coming guy named Stevie Ray Vaughan.
As Bowie’s guitarist and collaborator Reeves Gabrels once revealed in an interview that Bowie decided that for his 1999 album, “I want to make music for my generation,” and that he wanted the R&B group TLC to sing backing vocals on this criminally-overlooked ballad. “I was David's friend, and his guitar player, musical director, co-producer, but I was also a fan,” Gabrels said. “I felt like I was protecting his 'thing.' I wanted to make sure he stayed cool and stayed connected. He was a voracious chaser of new things. But not every new thing [should be chased].” Holly Palmer ended up doing the backing vocals on the song.
The final single released during Bowie’s life was one of his best; the video, like the ‘Blackstar’ album, came out just days before his passing and the song seems written with his impending death in mind. It was haunting when we first heard it, and it’s even more chilling now.
1977 was an incredibly prolific year for Bowie; besides releasing his classic ‘Low’ album, he also produced former Stooges singer Iggy Pop’s first two solo albums, ‘Lust For Life’ and ‘The Idiot.’ The former kicked off with the title track, which is probably Iggy’s most popular solo jam. Bowie co-wrote the song (on a ukulele, according to some stories) and played piano on it; the distinctive Motown-like beat was played by Hunt Sales, Bowie’s future Tin Machine bandmate. Nearly two decades after its release, it got a second life when it was used to great effect in ‘Trainspotting.’ And then it made it to an even wider crowd when it was used in Royal Carribean’s commercials.
The ‘Station To Station’ album marked one of Bowie’s stylistic turns: coming off of the soul/R&B sounds of ‘Young Americans,’ here he was more influenced by electronic music like German acts Kraftwerk and Can. “Station To Station” is one of his most experimental songs and his longest, clocking in at over 10 minutes.
In the early ‘70s, Bowie was obsessed with the Rolling Stones. That’s apparent on ‘Aladdin Sane,’ which features a cover of “Let’s Spend The Night Together.” But even that doesn’t sound as Stonesy as “Watch That Man.”
One of Bowie’s best hard-rock jams, it should have been a radio hit on par with “Suffragette City” and “Ziggy Stardust.” But even if it didn’t get on the airwaves in the ‘70s, it did make it to the ‘Guardians of the Galaxy’ soundtrack (when our heroes are approaching the “Knowhere” mining colony).
Inspired by ‘A Clockwork Orange’ (the term “droogie” and the line “wham, bam, thank you, ma’am” both came from ‘Clockwork’), it combined the hard rock sounds that were dominating the ‘70s with throwback Little Richard-esque piano and futuristic sounding ARP keyboards.
It’s hard to imagine that a band would turn down “Suffragette City” if David Bowie offered it to them, but that’s what Mott The Hoople did. As crazy as that might seem, they got a better song (or at least one that suited them better) when Bowie came back with “All The Young Dudes,” which was, by far, their biggest hit. While Bowie performed the song at his concerts over the years, the song fits Mott’s frontman Ian Hunter better than it did Bowie.
Was it about Bowie or was it about us? Both, really. On one of his first singles, he was letting us know that he wouldn’t stay in a groove for long and indeed, over the years, he would change his visual and musical style every few albums, challenging us up until the very end. But “And these children that you spit on/As they try to change their worlds/Are immune to your consultations/They're quite aware of what they're goin' through” applied to every new generation, as did “Look out, you rock and rollers.”
The man who made ‘The Rise and Fall of Ziggy Stardust and the Spiders From Mars’ just a few years earlier was clearly a guy who was pursuing stardom, even if it was under the Ziggy alias. But by 1975, Bowie was tired of the tribulations of fame, not the least of which was a legal battle with an ex-manager. That was something that John Lennon -- who Bowie and guitarist Carlos Almoar co-wrote the song -- knew something about. One of the funkiest jams recorded by either Bowie or (especially) Lennon, it was Bowie’s first U.S. #1 hit.
One of a handful of Bowie songs that didn’t make a huge chart impact, but took on greater weight in the years after its release. In this case, it was Nirvana’s cover from their episode of “MTV Unplugged” that finally put the song in front of millions; at the time, it could have been referred to as obscure. Now, it’s iconic.
Starring Major Tom, a character who he revisited in 1980’s “Ashes To Ashes,” 1995’s “Hallo Spaceboy” and possibly in Bowie’s final bow, the 2015 video for “Blackstar.” Inspired by the film 2001: A Space Oddity, the song was as much about isolation and madness as it was about science fiction. The song’s eerie vibe was enhanced by the mellotron, played by future Yes keyboardist Rick Wakeman.
Bowie was the quintessential rock star, but on this song he -- and his character, Ziggy Stardust -- shares the spotlight with Mick Ronson’s iconic guitar riff. Indeed, that riff may have distracted some programmers from the “well-hung” bisexual alien rock star with the “snow-white tan” and “screwed-up eyes and screwed-down hairdo,” who “could lick 'em by smiling.”
Bowie was never a nostalgic guy, leaving musical and visual styles (and band members) in the dust as he progressed throughout his career. So it was a bit of a surprise when he revisited “Major Tom” from his first big hit, “Space Oddity” on “Ashes To Ashes,” noting that his story didn’t end well.
It was never a hit, and yet it’s regarded as an anthem and that’s fitting: Bowie never seemed to care to pander to the pop charts of the moment, even as he always seemed to strive for iconic status. And even if you don’t agree that it’s his finest moment, it’s surely one of Bowie’s greatest songs. Co-written with producer Brian Eno and powered by King Crimson guitarist Robert Fripp’s distinctive guitar line, the song is something of a rorschach: the lyrics are vague enough to mean whatever you want them to. As such, it’s been hailed as a gay anthem, but the National Review named it one of the greatest conservative rock songs of all time. By the way, the quotes are part of the spelling of the song’s title; they were, apparently, to point out irony. But whatever Bowie’s punctuation motivation, fans all over the world take the song seriously.
Dave Grohl is now a writer! His memoir would make a killer Christmas gift. Let’s check out the Foo Fighters BEST SONGS!
Foo Fighters: Their 40 Best Songs
The song starts out as a solo Dave Grohl acoustic folk tune before erupting into a Queen-level production -- even as he sings, “I don’t want to be Queen” -- with one of the many great Foo Fighters guitar riffs. And then it goes back to folk. It does all of this in one minute and twenty-three seconds. It also has one of Grohl’s sage bits of advice: “There's one thing I have learned/If it gets much better/It's going to get worse.” In other words: try to make peace with where you are in life.
Rick Neilsen of Cheap Trick guesting on guitar (as if the three-guitar band need any more six-stringers), Rami Jaffe’s funk keyboards and the riff from Dio’s “Holy Diver” make this song the easy highlight of the uneven ‘Sonic Highways’ album.
It’s no surprise that a band named after flying saucers would have an affinity for ‘90s UFO/conspiracy theory-obsessed sci-fi drama ‘The X-Files.’ The Foo Fighters’ cover of the 1979 song by Tubeway Army (Gary Numan’s former band) may have been a surprising choice, but it worked incredibly well. It’s one of the best of the Foos many covers.
The song starts abrasively with a distorted guitar riff, and then another one, before the band kicks in and Grohl screams, “These are my famous last woooooords!!!” Happily, that wasn’t true -- Dave Grohl has written and sung many more tunes in the past decade. “Bridges Burning” kicked off one of the band’s best albums, one they haven’t topped since. But note that Grohl refers to himself in the song as the “King of Second Chances,” and it’s kind of true: who thought that Nirvana’s drummer would go on to be one of the biggest rock stars of the next three decades. So you’d be foolish to think that he doesn’t have more classic LPs in him.
Dave Grohl has always had an indie-punk ethic, but happily he grew out of the orthodoxy of that scene. “Statues” is a lovely piano ballad (with Grohl on piano) that would not sound out of place between songs by Cat Stevens and Carly Simon on a ‘70s hit station.
Only two people have sung lead vocals on Foo Fighters albums: Dave Grohl and Taylor Hawkins. The latter of takes the mic here for his best vocal performance. And only four people have sat behind the drum kit: Grohl, Hawkins, William Goldsmith and… Paul McCartney. That’s right: the band with two great drummers gets Paul freakin’ McCartney into the studio and they put him on the drum kit. It works though. Funny enough, “Sunday Rain” sounds like it could be a Wings outtake.
If Tom Petty asked Dave Grohl to write a song for the Heartbreakers, what would it have sounded like? Probably “Wheels.” And it would have been great to hear Tom sing this one.
The Foo Fighters have had a crazy amount of hit singles, but some of their greatest songs are hidden towards the end of their albums. “Summer’s End” is one of them, and it should have been a hit. LIsten to it once, and try to get it out of your head.
A solo acoustic song that Dave Grohl wrote when he was in Nirvana, possibly about Kurt Cobain. An earlier version of this song was included on a collection of Grohl tunes under the name “Late!” which was released on a small indie label as a limited-edition cassette-only release back in 1992. It’s been bootlegged often, but has never had a wide release; it also featured “Color Pictures Of A Marigold,” which Grohl re-recorded with Krist Novolselic as “Marigold,” and was released as the B-side to Nirvana’s “Heart-Shaped Box.” More than a decade after Cobain’s death, “Friend Of A Friend” stands as a moving tribute.
Turn down the guitars a bit, and this is another jam that could have been a hit on AM radio in the ‘70s. Which seems to have inspired the song’s very ‘70s looking video.
One of Dave Grohl’s loveliest songs, this one gets an assist from his future Them Crooked Vultures bandmate, John Paul Jones, on piano.
In some ways, it’s the first Foo Fighters song: it’s probably the first one that many fans heard. It premiered on one of Pearl Jam’s pirate radio broadcasts. In the Foo Fighters’ early days, this often closed the band’s live sets.
Grohl said of the song, “It's an ode to North Carolina. I lived there from 1991 to 2002, on the coast where there were these beautiful sand dunes. It's [about] finding yourself by disappearing.”
A sugary sweet pop country-rock song, it kicked off the long tradition of hilarious Foo Fighters videos. Older fans might remember that the video led to fans throwing Mentos (or “Footos”) at the Foos when they played the song live, which led them to stop playing it. Happily, it returned to the set; the Mentos phase has thankfully passed.
The song features some of Dave Grohl’s most primal screaming and still manages to be catchy and melodic. The band surprise-dropped the song and video and seven weeks later, it topped the Billboard Mainstream Rock Songs chart, showing that the Foo Fighters were still relevant, twenty-two years into their career.
It’s a favorite of the hardcore fans, and Dave Grohl likes it too. He told Rolling Stone: “It is definitely one of my favorite songs that we've ever come up with. It's a nostalgic look back at Seattle and the life I once had. That song actually questions the meaning of life.” He added, “It's probably the heaviest thing I've ever written."
One of Dave Grohl’s most power-poppy songs, “Gimme Stitches” features one of his catchiest choruses.
23. “Baker Street” - B-side of “My Hero” Dave Grohl has always had a jones for ‘70s soft rock... as seen here, on this cover of the Gerry Rafferty classic. The original version, a #2 pop hit in 1978, was driven by the iconic saxophone playing of Raphael Ravenscroft, which the Foos replaced with (of course) screaming guitars.
One of the Foo Fighters’ heaviest songs had a bit of an unlikely lyrical influence: the ‘Sesame Street’ song “One Of These Things Is Not Like The Others.” Grohl has always been great at mixing heavy guitars and drums with a pop sensibility, and he does it brilliantly here, adding in a Chuck Berry-ish guitar riff for good measure.
Dave Grohl’s progression from drummer to bandleader was a difficult one, and by ‘99, he’d parted ways with three former Foo Fighters; drummer William Goldsmith and guitarists Pat Smear and Franz Stahl. ‘There Is Nothing Left To Lose’ was recorded by the trio of Grohl, bassist Nate Mendel and drummer Taylor Hawkins, and on “Learn To Fly,” Grohl was coming to terms with being the man at the top. At one point, he expressed ambivalence about the song, but later revised his opinion. "Lyrically it was all about just settling in to the next phase of your life,” he told Kerrang! “That place where you can sit back and relax because there had been so much crazy s--- in the past three years.” And the video, featuring Jack Black and Kyle Gass of Tenacious D, is legendary.
The first single from one of the band’s best albums, ‘Wasting Light,’ this song and album reintroduced Pat Smear as a full-time Foo Fighter, giving the group a new three-guitar attack of Grohl, Smear and Chris Shiflett.
A rather R-rated jam about oral sex, it was an unusual choice for the first single and lead track from ‘One By One.’ Most artists from the ‘90s/’00s alt-rock era didn’t sing too much about sex, but Grohl stuffs a lot of rock star swagger in the punky tune, bragging, “Done! Done! On to the next one!”
The song’s title is named for Dave Grohl’s boyhood friend, Johnny Park, who he’d lost touch with, but that has nothing to do with the rest of the song. When he asks, “Am I selling you out?” Grohl sounds defensive: all these years later, the concept of “selling out” seems quaint. But the truth is, Grohl has become one of music’s biggest and most enduring stars, and he’s done it on his own terms.
This song starts with a soaring guitar riff, not unlike the one in “Baker Street,” and the riffs get heavier as the song progresses. Grohl has said that as a drummer and a guitar player, he loves to play and write riffs; he must have had a blast writing this song.
The acoustic half of ‘In Your Honor’ had some of Dave Grohl’s best songs, and he looked outside the band to expand their sound. “Another Round” features Led Zeppelin’s John Paul Jones on mandolin, Rami Jaffe of the Wallflowers on keyboards (he’d later join the Foo Fighters) and famed rock photographer Danny Clinch plays harmonica.
By the late ‘90s, Dave Grohl seemed to get more and more comfortable with his inner soft-rocker, and was writing more mellow jams that worked side by side with his raging guitar rockers. This is a perfect example; you could almost imagine a mainstream country artist scoring a hit with this song.
The original version of this was on ‘The Colour And The Shape,’ but the band re-recorded it the following year for the ‘X-Files’ soundtrack. It’s a rare recording with guitarist Franz Stahl and is one of their first tracks with Taylor Hawkins. The re-recorded version is a bit shorter and has some sweet backing vocals. The video shows Grohl doing some serious acting too (it’s on YouTube).
Fun fact: this song was the Foo Fighters’ first music video, and it was directed by Gerald Casale of Devo. The song is an early example of Grohl merging his love for hardcore punk (the “I! Don’t! Owe! You! Anything!” chant) and melodic Beatlesque rock.
Named after the town in Virginia where Dave Grohl was living, on “Arlandria” he rages against celebrity status, two decades after he became a household name as Nirvana’s drummer and sixteen years after the Foo Fighters’ first album. “Close your eyes, turn around, help me burn this to the ground/Come now, take the blame, that's OK I'll play the game/I don't care it's all the same, watch it all go up in flames/Use me up, spit me out, let me be your hand-me-down/Fame, fame, go away, come again some other day.” The lyrics were a bit surprising, as Grohl seems to handle celebrity better than most, and it seems like he’s figured it out. Speaking of which, it’s crazy that ‘Saturday Night Live’ *still* hasn’t tapped him to host an episode!
Many of the Foo Fighters songs used Nirvana’s (and the Pixies’) quiet/loud dynamic, and “Let It Die” holds up to the songs in both of those bands’ catalogs. The lyrics are vague: “Why'd you have to go/And let it die/Do you ever think of me/You're so considerate,” and, as with many of Dave Grohl’s songs, are like lyrical Rorschachs: what they mean to you is as much a reflection of you as whatever inspired them. Ex- guitarist Pat Smear guested on the song; he’d soon rejoin the band.
Dave Grohl and Krist Novoselic reunited, post-Nirvana, twice in 1995: they played together on Mike Watt’s first solo album, and on an album by a band called the Stinky Puffs. This was their first recorded collaboration in 16 years, and with all due respect to Nate Mendel, the Foo Fighters’ longest-running non-Grohl member, Novoseic’s bass playing was perfect for this song. He added some accordion as well. It’s probably not a coincidence that this album was produced by the same guy who produced ‘Nevermind,’ Butch Vig.
The first Foo Fighters album was a stunning collection: a nearly perfect group of songs written, sung and played by Dave Grohl. But would there be a sophomore slump? The first single from ‘The Colour And The Shape’ quickly squashed that question. The video, directed by Grohl, marked the first appearance of Taylor Hawkins as a Foo Fighter; original drummer William Goldsmith played on a few songs on the album, but Grohl used his own playing on most of the songs. Hawkins -- previously a member of Alanis Morissette’s band -- didn’t join until after the album was in the can.
Dave Grohl has always cited Husker Du’s Bob Mould as an influence (even name dropping Husker Du’s “New Day Rising” in “Times Like These”). But here, Mould joins the Foo Fighters, playing guitar and singing very distinct vocals on this song, which is one of the band’s greatest non-singles.
Featuring one of the Foo Fighters’ heaviest guitar riffs, many fans presumed that the song was about Courtney Love, but Dave Grohl has said that it was about his experience of living in Hollywood.
Originally written for the previous album, ‘Echoes, Silence, Patience & Grace,’ Grohl decided that it made the perfect ending for ‘Wasting Light.’ It’s an uplifting anthem about second chances and starting over, something Grohl knows a bit about: “Learning to walk again I believe I've waited long enough/Where do I begin?”
Famed astrophysicist Neil DeGrasse Tyson doesn’t come up as a musical influence often, but Grohl said that his song was inspired by Tyson’s answer to the question: “What is the most astounding fact about the universe?” (You can find the video on YouTube.) Appropriately, he used wide-screen production: there’s a string section and backing vocals from powerhouse singer Alison Mosshart of the Kills and the Dead Weather.
Dave Grohl played bass guitar on “Jesus Doesn’t Want Me For A Sunbeam” from Nirvana’s MTV Unplugged, which may have surprised some who thought he was “just” a drummer (although if were you type who checked out the B-sides, you probably heard the Grohl-written and sung “Marigold,” the b-side to “Heart Shaped Box”). OK, but could he lead a band? The first single from the Foo Fighters’ self-titled debut, which was also the album’s lead track, announced that Grohl was way more talented than we’d realized. Indeed, the first Foo Fighters record is essentially a Dave Grohl solo album, as he sang, played bass, drums and all of the guitars (except for “X-Static,” which featured Greg Dulli of the Afghan Whigs). Fans and radio reacted quickly to the new Grohl: “This Is A Call” hit #2 on the alternative charts, and #6 on the mainstream rock charts.
Fans have interpreted this song to be about Kurt Cobain, but Dave Grohl has never verified that. In the Foo Fighters’ performance on ‘VH1 Storytellers,’ Grohl said that it was inspired by the seemingly normal characters in ‘80s films like ‘Valley Girl.’ Yet another rumor is that the song is about Pete Stahl, the singer of Scream, a DC-area hardcore band that Grohl played in prior to joining Nirvana (the band’s guitarist Franz Stahl was briefly a member of the Foo Fighters). But a recurring theme with Grohl’s best songs is that, regardless of what they were written about, they’re vague enough that you can apply them to your life, and it’s probably one of the many reasons why the band has been so popular for so long.
The ‘One By One’ sessions weren’t easy, and during a break in the action, Dave Grohl wrote this song. “It's times like these you learn to live again/It's times like these you give and give again” might have been about his relationship with the band, but the song is malleable enough to fit different situations. Case in point: a number of British pop stars recently recorded a socially-distinct version of the song for the BBC; Grohl and Taylor Hawkins contributed to the recording as well. It also showed the wide and enduring appeal of the band: most of those pop singers are probably not familiar with the Foos’ peers or their influences.
“When I sing along with you/ If everything could ever feel this real forever/If anything could ever be this good again/The only thing I'll ever ask of you/You've got to promise not to stop when I say when.” This song was released three years after Kurt Cobain’s death, and it certainly felt like it could have been about him. Dave Grohl allegedly wrote that about an ex-, but, as we’ve mentioned, universal lyrics transcend their original inspiration, and that’s certainly true here. It also clearly has a lot of meaning to David Letterman: in 2000, after the talk show host had quintuple bypass surgery, he said that listening to “Everlong” was crucial to his recovery. For his first show back after the surgery, Letterman asked the band to come on the show and play that song. The Foo Fighters often close their shows with this song, and -- of course -- the audience sings along with Dave. Many of them surely have their own stories too, and it’s always a powerful moment.